This film firmly caught the eyes of Westerners, as if it had tailored two pairs of protagonists and two clues for Westerners. The protagonists of Li Mubai and Yu Xiulian are prepared for Western intellectuals. Platonic love, Shakespearean dialogue, and lofty humanistic realm are all at the heart of the game; Luo Xiaohu and Yu Jiaolong dare to love, hate, and dare. The protagonist of the western cowboy character who dared to kill was prepared for ordinary American audiences; the story of Li Mubai's revenge and killing the blue-eyed fox for his master coincides with the main line of "The Earl of Monte Cristo", and the clue of stealing the Qing Mingjian resembles Extremely American popular drama. Therefore, the significance of this movie is not how many Chinese elements Ang Lee has shown, but how to make many Americans understand and accept this display in an appropriate way. ()
The status of "Crouching Tiger, Hidden Dragon" in Chinese film history is unquestionable. It included the name of a Chinese in the Oscar's Best Foreign Language Film column for the first time. The fascinating scenery and dazzling fights let people see the charm of Chinese martial arts. Since then, the comics of this movie and the TV series of the same name have had a good influence. (by)
In 2001, director Li Ang went to the Oscar with "Crouching Tiger, Hidden Dragon" and won ten nominations, and finally won four awards including Best Foreign Language Film, bringing Chinese-language films into a new realm of word-of-mouth, and also setting off the film industry. A new wave of martial arts movies. In the film, Ang Lee changed the style of emotional ethics film he was good at, interpreting Chinese classical aesthetic traditions and emotional concepts to a new level from a more modern and brand-new perspective. ()
The soundtrack of the film review was composed by the American mainland composer Tan Dun, with the internationally renowned Chinese cellist Ma Youyou as the lead player, and Coco Lee, who is compatible with Eastern and Western pop culture, is responsible for singing the theme song "A Love Before Time" (A Love Before Time) in Chinese and English. The collocation is quite fresh. The theme music style of the film is fortunate, sad but not sad, and it complements the implicit expression of love in the film. The close and consistent drumming sound is added to the section of the flying eaves and the wall, which fully embodies the tense and exciting atmosphere of martial arts, which can be called the best in Chinese film soundtracks. ()
The film does not have the arrogance of ordinary martial arts movies, instead it is a deep contemplation and implicit search for the humanistic connotation of the rivers and lakes. The film has approached an extremely profound point in Chinese traditional culture: the suppression and restriction of individual people, and at the same time demonstrated the powerful role and necessity of this Eastern social norm, as well as the conflict between him and human nature and the final tragic reconciliation. ()
